Search engines are a vital source of traffic and bring much-needed exposure for photographers. And just like camera gear or photo tech, they’re always evolving. So how do you keep up with algorithms that are constantly getting smarter? What steps can you
In honor of the International Day of Peace and Peace Week, Lenscratch has partnered with the National Center for Civil and Human Rights to feature photographic projects highlighting the lasting impacts of war, conflict, and displacement. Lauren Tate Baeza
The war ended in 1975, but has resulted in the post-war injury, loss of limb, and death of tens of thousands of people, most frequently farmworkers and playing children. In Laos, it is estimated that one third of the land and a quarter of villages are contaminated with unexploded munitions. The threat of explosives prevents recovering nations from developing land and rebuilding. Margaux Senlis ’ photographic series, UXO, captures the tension beneath beautiful Southeast Asian landscapes. The images illuminate that the time between the unrest of the 1970s and today does not seem as distant in many regions of the world
Facebook has announced an update to its ‘Rights Manager’ tool that will enable photographers to claim ownership over their most popular images, identify
“Today, we are introducing Rights Manager for Images, a new version of Rights Manager that uses image matching technology to help creators and publishers protect and manage their image content at scale,” reads the announcement. “To access Rights Manager, Page admins can submit an application for content they’ve created and want to protect. Rights Manager will find matching content on Facebook and Instagram.”
How do you go tackle writing about your photographs? This question poses possibly the most vexing challenge for most photographers. I keep coming back to it because I write about other people’s pictures, and I listen to or read what photographers say or write about their own work. In some ways, the preceding is going to be a variant of older pieces (you can find them here and here). However, now I feel that I have more clarity about the subject than before.
Catherine Panebianco gives life to pictures from the past by photographing them in new settings, refreshing the ritual and recycling her family’s memories
Catherine Panebianco gives life to pictures from the past by photographing them in new settings, refreshing the ritual and recycling her family’s memories.
In honor of the International Day of Peace and Peace Week, Lenscratch has partnered with the National Center for Civil and Human Rights to feature photographic projects highlighting the lasting impacts of war, conflict, and displacement. Lauren Tate Baeza
Wars are fought by soldiers and rebels, but they spare no one. The compounding fallout often spans for generations. This week’s selections examine burdens inherited by families and other bystanders. The Guatemalan Civil War lasted from 1960 to 1996, when peace accords were signed between guerillas and the military dictatorship. The war left hundreds of thousands of civilians dead or disappeared, a disproportionate amount of which were indigenous Mayan groups and rural poor the military considered supportive of guerillas. Rodrigo Abd’s series, Exhumations, includes emotive depictions of the retrieval of remains found at mass gravesites and, more than a decade after the war, the ongoing process of reconciliation as forensics aid in trial proceedings and family members provide proper burials for their loved ones in accordance with cultural and ancestral tradition.
As digital photography radically democratizes the medium, taking it out of the provenance of a once-elite group of imagemakers and gatekeepers, the subject of ethics in photography has come to…
As digital photography radically democratizes the medium, taking it out of the provenance of a once-elite group of imagemakers and gatekeepers, the subject of ethics in photography has come to the fore. Long overdue, we can finally begin to confront issues of bias, morality, and principle that have long infiltrated the medium by many of its most prominent practitioners.
As Steidl publishes an extensive tome on Mary Ellen Mark’s incomparable photographic career, a selection of the late photographer’s own thoughts on her chosen medium
As his group exhibition Just Pictures continues in Missouri, curator Antwaun Sargent sits down with photographer Joshua Kissi to talk the technicalities of photographing Black skin, family photo albums and working with Beyoncé
As promised, Sony unveiled a new full-frame mirrorless camera via livestream this evening. But while this was originally rumored to be a compact entry-level model that would sit below the popular Sony a7 III, the new Sony a7C may be more of a step sideways than a true budget option.
On Deutsche Börse Photography Foundation Prize’s reproduction of structural inequality, Mohamed Bourouissa’s ambivalent ‘victory’ and the implications for curatorial responsibility
What this amounts to is curatorial malpractice on the one hand, and capitalist oppression on the other – a form of reproducing and perpetuating racial inequality, both in material and ideological terms. A quick, top-level calculation of the monies awarded to just the winners alone (these figures exclude the smaller sums given to runners up) shows that a total of £485,000 has been awarded to white artists (82%), in comparison to £105,000 awarded to artists of colour (18%) – a wildly unequal distribution. Not only this, but it subsequently impacts on the discrepancies in levels of press coverage received, as well as interest from galleries, museums and collectors with implications for their markets and price points of artworks. Clearly no honest observer can say that such devaluation, in every sense of the word, isn’t a problem. And it’s a white problem that needs to be urgently addressed going forward.
By photographing the spaces left dormant during the pandemic, Tom hopes to emphasise the emptiness (and tentative hope) he feels about our current state.
By photographing the spaces left dormant during the pandemic, Tom hopes to emphasise the emptiness (and tentative hope) he feels about our current state.
September 11, 2001, was a sunny Tuesday morning. Bill Biggart and his wife Wendy Doremus were walking their dogs in downtown Manhattan. At about 8:45 a.m., the couple noticed clouds of grey smoke forming against the clear blue New York City skyline. A passing taxi driver informed the couple that an airplane had crashed into the World Trade Center.
It is easy to walk through a city not making eye contact, but for Khalik Allah this contact is essential. He sees each individual he photographs. And his photographs in turn allow us to see them, to acknowledge who we might ignore, to look through Allah’s eye and into theirs, and to recognize them as individuals. This is the power of Allah’s work: to give us a deeper sense of people as people, to share and enlighten, even when the message may not be clean or easy.
During the COVID-19 pandemic, I worked in Mexico City with a Holga camera, a plastic camera first made in the ’80s whose plastic lens and imperfect seams made the film blurred in sections and unpredictably streaked with light. Before the quarantine started, I bought 17 rolls of film. They would have to last for months until businesses reopened.
This week, I am excited to introduce five new Lenscratch Content Editors who will be providing expanded perspectives on a variety of topics. Today we feature Madrid-based, Portugal-born photographer Carlos Barradas, a talented artist and writer who is par
This week, I am excited to introduce five new Lenscratch Content Editors who will be providing expanded perspectives on a variety of topics. Today we feature Madrid-based, Portugal-born photographer Carlos Barradas, a talented artist and writer who is particularly interested in ideas of confinement. Carlos will also share international events and artists with the Lenscratch audience. An interview with Carlos follows.
Faroq left her native Yemen a year after the war broke out in 2015, and never returned. The experience recast her practice, and she began to turn the camera on herself
Faroq left her native Yemen a year after the war broke out in 2015, and never returned. The experience recast her practice, and she began to turn the camera on herself
On commission for the New York Times, Soth says he had “no knowledge” of the the long-term project by the Chicago resident and documentary photographer
On commission for the New York Times, Soth says he had “no knowledge” of the the long-term project by the Chicago resident and documentary photographer
On September 5, 2020, The New York Times published “The Great Divide” – the latest entry in their “The America We Need” Times Opinion series – which examined neighborhoods on Chicago’s North Side and South Side and the enormous disparities in wealth and h
In this episode of Vision Slightly Blurred, Sarah and Allen discuss the controversy and complexities surrounding the NYT’s article, plus John Divola criticizes MFA student William Carmargo, and Jeff Mermelstein photographs your texts for #nyc.
